Two Cambridge Mphil graduates, from the same degree, talk about their passion for films.

Chris Lau, born in Hong Kong, is part of the 2023–24 MPhil cohort in Film and Screen Studies at the University of Cambridge. With an academic background in law from both the University of Hong Kong and Cambridge, he brings a unique interdisciplinary perspective to his work in film.

Chris was the Co-Lead Curator of Odyssey 2024, the biggest UK based film festival engages Greater China. Currently producing two student-led projects, Chris sat down with Sicun Wu—a 2024–25 MPhil student in the same programme—to discuss his latest film, Eating Oysters, and how cultural exchange continues to shape his creative journey.

Set at the University of Cambridge, Eating Oysters offers an intimate portrayal of a relationship between two characters, Jonathan and Bella. The film unfolds first through Jonathan’s point of view, charting the evolution of their connection over time. Following a particularly intense evening, the narrative shifts to Bella’s perspective—rewinding through the same events and recontextualizing every moment, exposing new layers of meaning and emotional nuance.

Sicun: How did you first get involved in Eating Oysters?

Chris: I saw the casting call on a Cambridge Facebook group dedicated to people interested in theatre and film. I read the audition pack and found the story fascinating—especially the concept of telling the same story from two different perspectives. Although they were looking for actors and I wasn’t planning to audition, I reached out to the directors and offered to help as a producer.

 

Sicun: Why the role of producer? Does it relate to your past experience?

Chris: Yes, before Eating Oysters, I produced a short film called Oxpecker. It was my first time producing, and I found it extremely rewarding. I realized many skills I developed as a law student—like project management and problem-solving—were very transferable to film production.

Sicun: Do you see producing as part of your long-term career goals?

Chris: Absolutely. I’d love to continue working in film production and be involved in more projects as a producer. I really enjoy guiding a project from script to screen—overseeing everything from pre-production through post.

Sicun: For those unfamiliar with the role, what does a producer typically do on a student film?

Chris: In low-budget, independent, student-led films, producing is largely about people and logistics. You need to assemble the cast and crew—everyone from the director of photography to runners. Then there’s the financial side: we ran a crowdfunding campaign for Eating Oysters, secured funding from Emmanuel College (where the film directors study), and even brought on an executive producer I pitched the project to in Cannes. There’s also the administrative side: organizing filming locations, renting equipment, and so on.

Sicun: What’s been your biggest challenge on Eating Oysters?

Chris: Definitely the tight timeline. I joined the project in March and we started filming in early May, so we had just over a month to prepare. That’s very fast for a film project. I was essentially working on it full time.

Sicun: You mentioned crowdfunding. How did you manage to pull it off so quickly?

Chris: Alongside crowdfunding, we created a pitch deck for funding applications and to introduce the project to potential collaborators. It included details about the directors’ inspiration, cast introductions, the synopsis, and what makes the film special. Those materials became key to both our fundraising and promotional efforts.

Sicun: Any interesting cross-cultural exchanges during that process?

Chris: Definitely. For instance, our executive producer, Diana Dai, is Chinese but based in Canada. She studied in the UK and went to Cambridge too. We met at Cannes this year, connected over our shared experiences, and eventually she decided to support the project. Despite being in different countries, we found a common cultural ground—and that’s a beautiful part of international collaboration.

Sicun: You went to Cannes this year. What differences did you notice between student and professional producers?

Chris: One thing that stood out was how busy the professionals were—going from meeting to meeting, constantly networking. Meanwhile, I had more time to actually watch films, which was wonderful. It made me realize how demanding the industry is when you do this full time.

Sicun: Where is Eating Oysters now in its production timeline?

Chris: We finished four days of shooting in May and another seven in June. Now we’re in post-production. Our editor is working on the rough cut.

Sicun: Do you plan to submit it to festivals?

Chris: Yes, definitely. Once post-production is complete, we’ll be submitting to various film festivals.

Sicun: Beyond this project, what’s your vision for your career? Do you see yourself working across the UK–China film industries?

Chris: I’d love to work on more film projects, including within the film festival circuit. Gaining experience through different projects is vital. I definitely see potential in working across the UK–China film industries.

Sicun: What advice would you give to other Chinese students or aspiring producers abroad?

Chris: Get involved in as many projects as possible—even in small roles like a runner or lighting assistant. My first set experience at Cambridge was in those roles, and it helped me understand how a film set works. That experience was essential for stepping into producing.

Sicun: From your perspective, what’s the outlook for Chinese producers in the UK?

Chris: I think it’s very promising. There are so many stories worth telling—from the unique experience of studying or living abroad to cross-cultural narratives. There’s real opportunity for Chinese filmmakers to create and lead projects here.

Sicun: Are there good opportunities for student films in the UK festival scene?

Chris: Absolutely. For example, Cambridge hosts the Watersprite Student Film Festival, which accepts short films and has free submission. Across the UK, there are many such festivals. For Chinese films, the Odyssey festival, organised by UK-China Film Collab (UCFC), is an excellent platform for both short and feature-length works.

You can connect with Chris Lau via Linkedin here.